172 Book Reviews TECHNOLOGY AND CULTURE “futile for whom?”) Finally, Eamon’s suggestion of a trend from me dieval secrecy to early modern openness is overly simplistic, as is arguable from the evidence that he himself presents. Some of these criticisms reflect genuine methodological differences that cannot be adjudicated simplistically into a right or wrong ap proach. The great value of Eamon’s book lies in his detailed elabora tions concerning the books of secrets, as well as his insistence on their importance in the development of experimental philosophy. This cannot have been an easy task—the sources are scattered and cut across disciplinary boundaries such as the history of medicine and the history of alchemy. They have for the most part been deemed relatively trivial, if they have been considered at all. Although scholars may take issue with specific points of Eamon’s discussion, they will no longer be able to ignore the empirical interests of early modern popular culture as an issue for the history of experimental phi losophy. Pamela O. Long Dr. Long’s work in progress concerns issues of openness, secrecy, authorship, and intellectual property within premodern technical and military traditions. Her publica tions include a study of the ideal of openness in 16th-century mining and metallurgical literature. Artful Science: Enlightenment Entertainment and the Eclipse of Visual Edu cation. By Barbara M. Stafford. Cambridge, Mass.: MIT Press, 1994. Pp. xxx+ 350; illustrations, notes, index. $35.00. Barbara Stafford’s Artful Science: Enlightenment Entertainment and the Eclipse of Visual Education explores the sometimes shady world of pub lic “scientific” entertainments, experiments, and displays in the 18th century. The material she discusses is fascinating. For example, Vaucanson ’s automaton duck, which illustrated a hydraulic model of the digestive system, actually appeared to digest and defecate; Desagulier ’s experimental displays, elucidating Newtonian physics, were complete with the “visual appeal of clattering valves and hissing boil ers” (p. 178); and “pickled monsters” vexed the forerunners of cura tors of museums of natural history with practical and categorical problems of how to display them. Like the pickled monsters, Stafford’s book will cause difficulties for those who want their categories clearly defined. The lavishly illus trated Artful Science is not completely a history of science and technol ogy, or of popular entertainments, or of art. This is one of the strengths of the book and of Stafford’s scholarship in general. She continues the same kind of adventuresome cross-disciplinary leaps here that she embarked on in her previous book, Body Criticism (Cam bridge, Mass., 1991). In both books, the binding cross-disciplinary link is an epistemological notion of visuality. TECHNOLOGY AND CULTURE Book Reviews 173 Visuality also serves as a link between past and present in Artful Science. Stafford asserts that a shift from an oral/visual to a textual/ literate culture occurred during the Enlightenment. Today, because of new optical technologies, interactive software, and the telecommu nications and film industries, our culture is undergoing a shift back to a more visual mode of learning and understanding the world. In order to better prepare for this revolution-in-progress, Stafford argues, we need to cultivate or reactivate this visual dimension of knowledge and learning. Artful Science achieves this by interrogating the earlier oral/visual culture of the 18th century and by charting the significant moments in the Enlightenment transformation to a textual culture. That Stafford shows us the way through the medium of scientific and pedagogic entertainments is particularly timely, since educators, entrepreneurs, and artists are all leaping on the new tech nological bandwagon. Artful Science both illuminates and illustrates the epistemology of visuality and representation. Stafford emphasizes the nature and im portance of the visual in higher mental functions in her examination of “mathematical recreations,” scientific entertainments, and modes of exhibition. In a visual/oral culture, as opposed to a textual/literate one, the boundaries between art and technology, game and experi ment, image and speech are fluid; associative leaps are as important as a linear progression. Learning is a playful, conversational activity— interactive, to use a more contemporary term. The copious illustra tions, 197 in a 311-page text, provide a running visual commentary. The reader, however...
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